I usually wait a day or two after viewing a movie to review it -- given some time and perspective, I often gather cohesion and the sheen of just experiencing a movie wears off enough for me to perceive it in a more critical eye. However, I was so delighted by today's viewing of Wes Anderson's latest - The Grand Budapest Hotel - I had to sit down to write this.

Let me preface this with a disclaimer: I'm a huge fan of Anderson. Although I own nearly all of his movies though, this is my first time seeing one of his work's on the big screen. If you can, you need to allow yourself this pleasure. Anderson, as always, lays meticulous care into every detail of every shot and the scope of of Budapest needs to be seen in theaters to fully appreciate it.

Budapest is about a bygone era which focuses on the lives of an inimitable concierge (played by Ralph Fiennes in his first such role) and the lobby boy he takes on as his protege and later confidante (played by newcomer Tony Revolori). I won't reveal what unfolds, because that's half the fun.

The story of Budapest is like a Russian nesting doll, starting with a girl reading a story turning into a man narrating how he came to know the events that transpire to another man who relates the story. Likewise, Anderson's feature is a Russian Babushka of genres as well - a prison heist within a murder mystery within a coming of age movie. Each scene is a visual delight to behold; I found my jaw dropped for a good portion of the movie.

Of course there's a whole cadre of cast members to commend in this movie. Sitting in a responsive audience, there was an appreciative laugh every time a well-known Wes Anderson comrade made his appearance on the screen. Keep your eyes peeled for a very brief and easy-to-miss cameo by George Clooney as well. Anderson is well aware of what and who the audience expects of him, and he flaunts it in this movie, giving each actor a deliberate entrance. Old faces aside, the movie is carried on the acting shoulders of two Anderson newcomers -- the surprisingly funny and delightful Ralph Fiennes and the poker-faced yet endearing Tony Revolori. Fiennes is pitch perfect as the winning, put-together gentleman concierge whose rare bursts of passion are all the more surprising and humorous because of what a contrast they are from his usual character.

Similarly, Anderson's rare deviations from his usual surprise and have more of an impact on us as an audience because they're a contrast. Overall though, expect to see all the trademarks of Wes Anderson - long tracking shots, theatrical cuts, candy-coated sets, and humorously dry dialogue. Even if the thought of a typical Wes Anderson film deters you, give it a try and you may find yourself surprised. Wes Anderson's carefully crafted ridiculousness fits this tragicomic crime genre and the mystery hijinks like a glove. It's almost as if Wes Anderson has heard and understood what people criticize him for and made this movie so over the top that it's a parody of himself.

As captivating as this movie is, my only criticism is that it lacks the heart of some of Anderson's former films. Moonrise Kingdom had the charm and vitality of young love. The Royal Tenenbaums explored family ties that bind us even as they form dysfunctions. Budapest is commended for not knocking us over the head with tragedy and the nostalgic glimpses we see of former love -- indeed the brief moments we witness are like the outbursts of Fiennes' true character, all the more treasured for their rarity. However, most of the time the movie is having too much fun to get us as emotionally invested.

There's not a flat note in this feature otherwise. Wes Anderson's craft is something that only improves with time and experience and this movie, shot by shot, reinforces that.